Musical instrument



(No Model.)

H. O. MARX.

MUSICAL INSTRUMENT.

No. 585.218. Patented June-29,1897.

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UNITED STATES PATENT ErrcE.

HENRY C. MARX, OF CHICAGO, ILLINOIS.

MUSICAL INSTRUMENT.

SPECIFICATION forming part of Letters Patent No. 585,218, dated June 29,1897.

Application filed December 26, 1896. Serial No. 617,001. (No model.)

To all whom, it nun/ concern:

Be it known that I, HENRY C. MARX, a citizen of the United States,residing at Chicago, in the county of Cook and State of Illinois, haveinvented certain new and useful Improvements in Musical Instruments, ofwhich the following is a specification.

This invention relates to improvements in that class of musicalinstruments known as autoharps, in which metallic bars or other hardsubstance, in combination with strips of felt or similar material, areemployed to operate on the strings; and it consists in certainpeculiarities of the construction, novel arrangement, and operation ofthe various parts thereof, as will be hereinafter more fully set forthand specifically claimed.

The main objects of my invention are to provide a musical instrument ofthe order or class known as autoharps, which shall possess means forproducin clear fret-tones like that of a cithern; to so construct theinstrument that a less number of strings are required than is used onthe autoharp of the ordinary or general construction yet attaining thetones produced by the omitted strings and rendering the operation oflearning or playing the instrument more easy and simpler; to provide theinstrument with dampers, which shall act on each and every bar and key;to enable strings of the same length to be used, and yet to produceuniform and equal vibrations; to enlarge the volume of tone; to producethe chromatic and diatonic scales on every string; to produce thechromatic and diatonic scales in chords; to furnish an instrument thatshall produce every key, both major and minor, complete, also dominantseventh, diminished seventh, and dominant to minor in every key.

Other objects and advantages will appear in the description hereinafterset forth.

tion, taken on line 2 2 of Fig. 1, showing a part of the upper portionof the sounding-box and a portion of the dampers and fret-bars inposition to act on the strings. Fig. 3 is an enlarged sectional view,partly in elevation, taken on line 3 3 of Fig. 1, showing a portion ofthe upper part of the sounding-box and some of the fret-bars and catchesor locks to hold the same in contact with the strings. Fig. 4 is anenlarged sectional view, partly in elevation, taken on line 1- l of Fig.1, showing a series of press-buttons and levers to operate the dampers.Fig. 5 is a perspective view, partly in section, of one of the fret-barsdetached from the frame. Fig. 6 is a fragmental view of a portion of thesounding-box, showing a modification in the manner of arranging thestrings in order to produce chords; and Fig. 7 is a sectional view ofthe upper part of the sounding-box and a portion of one of the siderails, illustrating a modification in the construction of the fret-bars.

In the drawings, 8 represents a soundingbox which may be made of anysuitable material and of any suitable construction, but preferably ofthe form shown in Fig. 1 of the drawings. On the upper surface of thisbox and at the tail end thereof is secured a bridge 9, and at its otherend or head is a bridge 10, extending across and resting upon which area series of strings, (indicated by numerals 11 to 26, inclusive,) butthe number of strings may be more or less, if desired. These strings arefastened at one of their ends to the tail of the sounding-box by meansof suitable pins 27 and at their other ends to the head of theinstrument by means of tuning pins or pegs 2S.

Extending parallel with one another on the upper surface of thesounding-box and near its edges of the head portion are located siderails 29, each of which is provided with a series of vertical slots orguideways 30 for the reception and operation of the fret-bars,which areindicated by the numerals 31 to Ali, inclusive, but may be more or lessin number, and each is provided in its lower portion with a metallicstrip 4:3, and a strip ll, of felt or other soft material, the feltstrip extending somewhat farther from the fret-bar than the metallicstrip, as is clearly shown in Figs. 2, 3, and 5 of the drawings, willtouch and act 011 the strings, so as to stop the vibration after thestring has been picked, and will also steady or firmly hold the stringin place, so that it will not jingle or rattle on the metallic strip,or, in other words, will perform the same function as placing the fingeron the string before the fret, as in playing a guitar or cithern. Itwill be understood that by press ing the fret-bar downward the string orstrings will be embedded in the yielding felt until the metal stripeonstit uting a fret, which is placed before the felt, contacts with thestrings and produces a clear tone like that produced by a guitar orcithern.

Located in each of the slots 30 of the side rails is a spring 15, onwhich the ends of the fret-bars rest and are normally held in a raisedposition, so that the strips a3 and at will be out of contact with thestrings. On the upper surface of each of the fret-bars and at its middleis located a button or knob 4:6, to which the thumb or finger may beapplied to alford uniform pressure throughout the length of the stripson the strings. Pivoted at one of their ends to the side rails arecatches or looks 17, each of which is provided with a knob 48, used forturning them, so as to press and hold the fret-bars in contact with thestrings, as is shown in Fig. 3. These catches are located in pairsbetween two of the fretbars, so that they may be turned in eitherdirection to secure the baron either side thereof in a lowered position,and I may use any number of said catches, as is apparent.

Extending from one of the side rails 29 to the other (usually below thestrings) and movably secured in their ends adjacent to the tail of thesounding-box are rods at), 50, and 51, each of which is provided withdampers 52, made of felt or other suitable material and located atproper points between the strings. Each of these rods is provided with aspring 53 to retract it and hold the dampers in contact with thestrings. Movably secured on one of the rails 29 in an upright positionis a series of rods 54-, 55, 56, and 57, each of which is provided atits upper end with a press-button or knob 58 and are pivotally connectedat their lower ends to one of the arms of the bell-crank levers 59,fulcrumed on the side rail, to the other arms of which levers arepivotally secured connecting-rods 60, whose other ends are pivotallyconnected to one of the arms of a series of bell-crank levers G1,horizontally fulcrumed on the side rail,whose other arms are pi votallyconnected to the rods19, 50, and 51, thus affording means for shiftingsaid rods longitudinally and throwing the dampers thereon into and outof contact with the strings, as desired.

It will be observed by reference to Fig. 4; that the bell-crank lever onthe vertical rod 57 is connected to the rod 60, which unites the leveron the vertical rod 5st, thus enabling the rod 51 to be operated bypressing on either of the buttons on said vertical rods and so arrangingthe buttons that the rods 5-1 and 55 or 50 and 57 may be pressed down atthe same time by placing the thumb or finger between the two so as torest on each.

In Fig. 6 I have shown a modification inv the manner of arranging thestrings, so that the chords may be played by 'n'essing down one fret-baronly or by leaving all strings open, which consists in arranging thestrings in groups of four or in chords, as shown. In this modificationthe dampers may be omitted, but the fret-bars are used, as above stated.

In Fig. 7 is shown a modification in the construction of the fret-bars,which consists in locating a metallic or strip 123'} of other hardsubstance beneath the bar and strings on the top of the sounding-box andproviding the bar with a strip at of felt or other material, as before,so that the strings may be pressed down on the strip 43.}, thusaecomplishing the same result as by the firstnamed construction. Thismodification may be used with or without the dampers, as is obvious.

The operation of my instrument is as follows: For example, in playingthe O chord with the strings arranged in chord groups of the majortriad, as in Fig. 1, all of the fretbars are left in their raisedposition and the thumb is run overall the strings. To produce Ct} chord,the fret-bar 81 should be pressed on the strings and the thumb runoverall the strings. To produce D chord, bar should be pressed down andall of the strings struck as before. To produce Dfi chord, press downbar 33 and strike all of the strings as before. To produce It, pressdown bar 34. and strike all of the strings. To produce F chord, pressdown bar 35 and strike all the strings. To produce Fti, press down bar3b and strike all the strin To produce G, press down bar 37 and strikeall of the strings. For Git press down bar 38 and strike all thestrings. For A press down bar 39 and strike all the strings. For Aijpress down bar 10 and strike all the strings. For B press down bar 4:1and strike allthe strings. For 0 press down bar 42 and strike all thestrings, which will produce C one octave higher than with all stringsopen. In pro ducing any of the above-named chords the thumb is runcontinuously over all the strings. In changing any of those chords tominor chords it is necessary to press on the button on the vertical rod55, which will shift the dampers 52 from strings 21 and 15, or stringsw, to strings 20 and 1-1, or Q, 5, as indicated by the tuning-chart 62,used for reference in playing music, and which may be located at asuitablepoint on the instrumem; and the letters of which are arrangedand inclined as follows:

656 terms CCW'ZGJU to distinguish the octaves. This chart may also beused byivhich to tune the instrument. To change any of the first-namedor major chords to dominant seventh, the buttons on the vertical rods51- or 57 should be pressed down, which operation will shift the dampers52 from strings 12 and 18, or 9*, pi, thus leaving them undampered. Tochange any of the major ,chords to a diminished seventh chord, pressdown the buttons on the vertical rods 56 and 57, which will shift thedampers 52 from the strings 22 and 1G, or Q), C, to 17 and 23, or C, Q,from strings 12 and 18, or f, K, leaving the latterundampered. Toproduce dominant to the minor chord, press down buttons on rods 54 and.55, which will shift the dampers from strings 21, 15, 19, and 12, or w,3*, t}, g", and onto strings 20 and 14:, or v 5, only. Each and everyone of the shifting dampers will cooperate with each and every one ofthe fret-bars or chords.

The scale is played in the following manner: G major, for example, isproduced by first picking (j, or 17, string of the middle oc tave withall the fret-bars up. Then press bar 37 and pick Q, below C, whichproduces D. Then pick 5 above 6 with all fret-bars up. Then press bar 35and pick 5', or 17,

string,which produces F. Then pick G above 6 with all the fret-bars up.Then press bar 35 and pick 5 above 6, which produces A. Then press bar37 and pick E above C, which produces 13. Then pick 9 with all bars up,which produces the diatonicscale of C major.

All other keys are obtained in the same manner, but by using differentfret-bars. The chromatic scale is obtained by picking the above-namedstrings and by employing the fret-bars 34c, 36, and 38 in connectionwith bars 35 and 37, but are pressed down sepa rately.

In playing pieces the melody is picked with the forefinger, while theaccompaniments are obtained by using the thumb2'-. 6., the music ofNearer, My God, to Thee may be written as follows:

and to play the same pick the string 5 with all fret-bars up, which isindicated by 0. Then pick q, and press bar 37, then C with bars up, thenQ, and press bar 35, then 3 and press bar 35, then E. and press bar 35,then Q: with all bars up, then 6' with all bars up, then 5 with all barsup, then C, and press bar 87. \Vhere the letters have dots, as and G,the strings are picked, and where no dots are used the strings areplayed in chords to the string indicated. The chords are played when thestrings are arranged in groups, as shown in Fig. 6, by picking tonicfirst, then subdominant, then dominant seventh, and if minor is wantedthen the minor group may be picked in a like manner, the chart 63 beingused to distinguish the tonic, subdominant, dominant seventh, and minorchords and may also be used for tuning. These groups are designated onthe drawings by the words Minor to indicate the minor group, Tonic forthe tonic or first chord of the key, Sub-dom. for the subdominant orsecond chord of the key, and Dom. seventh for dominant seventh or thirdchord of the key. As the bars are placed a half-tone apart, it will benoted that by pressing down bar 31 011 the groups of strings the keywill be changed a half-tone higher and by pressing down bar 32 it willbe changed another halftone higher, and so on in this manner all thekeys are obtained throughout the twelve bars.

IIavin g thus fully described my invention, what I claim as new, anddesire to secure by Letters Patent, is

1. In a musical instrument, the combination with a sounding box or body,of a series of strings thereon, a series of metal strips extendingcrosswise the body and a series of felt strips also extending crosswisethe body, said metal strips and felt strips being arranged to operate inconjunction with one another on the strings, the felt strips serving tostop the vibration of the strings and the metal strips to produce aclear tone.

2. In a musical instrument, the combination of a sounding box or body,of a series of strings thereon, a series of metal strips extendingcrosswise the body, and a series of felt strips also extending crosswisethe body, said metal strips and felt strips being ar ranged to operatein pairs, and in conjunction with one another on the strings, the feltstrips serving to stop the vibration of the strings and the metal stripsto produce a clear tone.

3. The combination with a sounding box or body, of a series of stringsthereon, a series of spring-actuated and vertically-movable bars, eachprovided with a strip of felt or like material, and a strip of metal orother hard material extending crosswise the body,said strips adapted tobe brought in contact with the strings.

In a musical instrument, the combination of a sounding box or body, of aseries of strings thereon, a series of spring-actuated andvertically-movable bars, each provided with a strip of felt or likematerial, and a strip of metal or other hard material in its lower partextending crosswise the body, a number of movable rods each providedwith dampers and extending crosswise the body and means to shift thedampers.

5. The combination with a sounding box or body, of a series of stringsthereon, parallel side rails on the upper surface of the body, saidrails having vertical guideways or slots, springs located in saidguideways, bars resting at their ends on said springs, and each providedin its lower part with a strip of felt or like material, and a strip ofmetal or other hard substance, a number of catches pivotally connectedto the side rails between the bars, and adapted to hold the same in alowered position, substantially as described.

6. In a musical instrument, the combination of a sounding box or body,of a series of strings thereon, two parallel side rails on the uppersurface of the body 011 each side of the strings, said rails havingvertical slots or guideways, springs located in said slots, barsextending across the strings and resting their ends on said springs,each of said bars being provided in its lower surface with astrip offelt or simihtr nmterinl, and at strip of metal or other hard substance,:1 number of catches pivotnlly secured on the side rails between thebars and adapted to engage the bars and hold them in n lowered position,at number of movable and spring-actuated rods extending crosswise thestrings, each having dampers, and a mechanism to shift said dampers,substantially as described.

7. The combination of a sounding box or HENRY C. lilAliX.

Witnesses Cults. C. 'liLLMAN, CHAS. E. GonToN.

